All just my personal opinion
Dmitri Shostakovich, Preludes & Fugues op.87: comparison, recordings by Tatiana Nikolayeva (1962), Boris Petrushansky (1992/92), Vladimir Ashkenazy (1998), Konstantin Scherbakov (1999), and Alexander Melnikov (2009)
Blog post #465 — Concert review, ★★½, Piano Recital Alice di Piazza @ Wetzikon ZH, 2019-02-02 (Klavierissimo Festival 2019) — Brahms: Chorale Preludes op.122/ 6 & 10; Schumann: Two Romances from op.28; Brahms: 7 Fantasias, op.116
#rolfsmblog
Concert review: Viviana Sofronitsky in a recital at ETH Zurich, 2016-05-17, playing on five replicas of historical pianos / fortepianos (after Stein, Walter, Graf, Pleyel, and Boisselot) by Paul McNulty, Divisov CZ — works by C.P.E. Bach, Mozart, Beethoven, Schubert, Chopin, Liszt
Beethoven: Piano Sonata No.26 in E♭ major, op.81a, “Les Adieux” — comparing recordings with the following artists: Wilhelm Backhaus (1961), Paul Badura-Skoda (1969), Daniel Barenboim (1984), Ronald Brautigam (2007), Emil Gilels (1984), Friedrich Gulda (1967), Arthur Rubinstein (1940 and 1962), Artur Schnabel (1935)
Natalia Gutman played with rich rubato, exploring the depth, the melodic strength of Dvořák’s composition with her dense, soft and singing tone (…) often, in lyrical passages, the soloist appeared completely immersed into the music, listening and playing with closed eyes (…)
The fourth movement, Allegretto, “Intermezzo interrotto” is rhythmically intricate, playing with Bohemian folk melodies — in typical Bartók / Hungarian manner, the meter is changing almost from bar to bar, leaving western ears “hanging in mid-air”: the orchestra’s playing was very good and appeared almost effortless.
Comparing recordings with the following artists: Wilhelm Backhaus (1966), Paul Badura-Skoda (1969), Daniel Barenboim (1984), Ronald Brautigam (2008), Emil Gilels (1985), Friedrich Gulda (1967), Igor Levit (2013), Maurizio Pollini (1976), Svjatoslav Richter (1965), Artur Schnabel (1935)